Pop does not come directly from the Muses. Its history, all musical genres combined, is closely linked to broadcast technologies that have allowed its commercial development. Agnès Gayraud goes through this story taking care to illuminate the aesthetic intentions that cross this musical form, so often depreciated in favor of a supposed great music. Everyone knows pop, recognizes it, has an opinion on it. Yet, its artistic and philosophical singularity remains little questioned, as if a taboo weighed on this musical form born in the early twentieth century and whose destiny is linked to its technical conditions of production and dissemination. Its anchorage, essential in the world of phonography, is generally interpreted as the shameful trait of a music that would have ceased to be completely one, even identifying with the "sounds of capitalism" that disguise auditory sweets the grunts of the foul beast. The recording and its consequences would have above all degraded the music, altered what preserved it -; do we imagine -; from standardization to the production of a form of consumable music accessible to all, universally mediocre. From ABBA's hits to Beyoncé's anthems, pop would be structurally inauthentic. In this book, Agnès Gayraud looks at the depth of this music long described as "light" and confined to a status of object of consumption. She unfolds all her paradoxes, at the heart of the musical works themselves, to reveal the aesthetic ramifications of an unsuspected wealth of what may have been the most important musical art of the twentieth century.